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Pathos (/ ˈ p eɪ θ ɒ s /, US: / ˈ p eɪ θ oʊ s /; pl. pathea or pathê; Ancient Greek: πάθος, romanized: páthos, lit. ' suffering or experience ') appeals to the emotions and ideals of the audience and elicits feelings that already reside in them. [ 1 ]
Pathos (plural: pathea) is an appeal to the audience's emotions. [6]: 42 The terms sympathy, pathetic, and empathy are derived from it. It can be in the form of metaphor, simile, a passionate delivery, or even a simple claim that a matter is unjust. Pathos can be particularly powerful if used well, but most speeches do not solely rely on pathos.
In modern times [15] "sentimental" is a pejorative term that has been casually applied to works of art and literature that exceed the viewer or reader's sense of decorum—the extent of permissible emotion—and standards of taste: "excessiveness" is the criterion; [16] "Meretricious" and "contrived" sham pathos are the hallmark of sentimentality, where the morality that underlies the work is ...
Film critics sometimes use the term "pejoratively to connote an unrealistic, pathos-filled, camp tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences". [20] Also called "women's movies", "weepies", tearjerkers, or "chick flicks".
Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
Speaking about quotes, the Instagram page Movie Quotes posts some of the most memorable ones from movies and TV shows, so we have compiled the best ones for you. Some of them will definitely ...
For example, in Pride and Prejudice, the plot revolves around the problems caused by primogeniture, as the Bennet property is entailed away from the Bennet daughters, [142] and Sense and Sensibility questions the arbitrariness of property inheritance when the elderly Mr. Dashwood disinherits one side of his nephew's family because of his ...
In his essay Poetry-Films and Film Poems in Film Poems, William C. Wees differentiates between poetry-film using a film to ‘illustrate’ a poem, and film poems in which ‘a synthesis of poetry and film that generates associations, connotations and metaphors neither the verbal nor the visual text could produce on its own.’ [9] [10]